parnuwikiaorg_et-20200214-history
VOKAALRETSITAL 2015-7
L 1.08.2015 kell 20. Pärnu Eliisabeti kirik KAVA Gabriel Fauré (1845-1924) :L’Horizon chimérique op. 118 (1921, Jean de la Ville de Mirmont 1886-1914) ::La mer est infinie ::Je me suis embarqué ::Diane, Séléné ::Vaisseaux, nous vous aurons aimés Frank Martin (1890-1974) :Sechs Monologe aus Jedermann (1943, Hugo von Hofmannsthal (1874-1929) ::Ist alls zu End das Freudenmahl ::Ach Gott, wie graust mir von dem Tod ::Ist als wenn eins gerufen hätt ::So wollt ich ganz vernichtet sein ::Ja! Ich glaub: solches hat er vollbracht ::O ewiger Gott! O göttliches Gesicht Gustav Mahler (1860-1911) :Rückert-Lieder (1901-1902) Friedrich Rückert (1788-1866) ::Ich atmet einen linden Duft ::Blicke mir nicht in die Lieder ::Um Mitternacht ::Liebst du um Schönheit ::Ich bin der Welt abhanden gekommen :Tim Kuypers (bariton) :Jaanika Rand-Sirp (klaver) 1901. aastal Gustav Mahler haigestus ja peaaegu suri suure stressi tõttu oma kõrgel positsioonil Viini Riigiooperi juhi ja peadirigendina. Pärast mitmenädalast eemalviibimist ta siiski toibus. Tema tervenemisele aitas kaasa kohtumine Alma Schindleriga, kellesse Mahler armus. Samal aastal ta abiellus Almaga ja kirjutas oma kuulsad laulutsüklid "Surnud laste laulud" (Kindertotenlieder) ja "Rückerti laulud". Rückerti surmaihalusest ja rahust rääkiv luule liigutas Mahlerit sedavõrd, et ta püüdis poeediga samastuda nii kõnepruugis kui ka oma teoste teemades. Sestpeale ongi tema vokaallooming seotud Rückerti luulega. Rückerti laulude hulka kuulus algselt neli laulu. Pärast Almaga abiellumist kirjutas Mahler veel lisaks laulu "Liebst du um Schönheit" kui deklaratsiooni armastusest oma naise vastu. Kui Frank Martini sõber, bariton Max Christmann, palus heliloojal kirjutada talle mõned laulud, ei suutnud helilooja kohe leida talle sobivat luuleteksti. Kuna ta oli aga plaaninud kirjutada ooperi Hugo von Hofmannsthali igal aastal Salzburgi festivalil etenduva näidendi Igamees (Jedermann) ainetel, otsustas ta võtta näidendi tekstist kuus monoloogi. Igamees räägib mehest kui inimkonna koondportreest, kes seisab surma hetkel silmitsi oma loojaga. Ei sõbrad, sulased, raha ega kuld aita tal otsustada, kas tema tee läheb taevasse või põrgusse. Vaid tema ise on see, kes otsustab oma heade ja halbade tegude ning saatuse üle. Teoses käsitletavatel alandlikkuse ja vastutuse teemadel on tähtis koht ka tänapäeva tihti kergemeelses maailmas. Martini muusika ilulemise või mõttetute "kaunistusteta", ühest küljest lihtne, kuid teisalt vägagi kompleksne helikeel sunnib kuulajat mõtisklema kunsti sügavamate väärtuste üle. Bariton Tim Kuypers omandas ooperimagistri kraadi Amsterdami konservatooriumis ja täiendas ennast Baieri riigiooperi stuudios Münchenis. Pärast õpingute lõpetamist on ta esinenud Luzerni festivalil Šveitsis, Dartingtoni suvefestivalil Inglismaal, Berliini kontserdimajas, Théâtre de Champs Elysée's Pariisis ja Royal Concertgebouw's Amsterdamis. Ta on esinenud koos selliste dirigentidega nagu Marco Armiliato, Fabio Luisi, Zubin Mehta, Kirill Petrenko, Bertrand de Billy, Paolo Carignani, Kent Nagano, Ádám Fischer, Lothar Koenigs, Friedrich Haider, Asher Fisch, Henrik Nánási, Constantinos Carydis, Eivind Gullberg Jensen, Mihhail Tatarnikov, Carlo Montanaro, Daniele Callegari, Dan Ettinger, Oksana Lyniv, Marc Piollet, Emmanuel Villaume, Karl Mark Chichon, Francesco Angelico ja Richard Egarr ning teinud koostööd lavastajatega nagu Richard Jones, Krzysztof Warlikowski, Andreas Kriegenburg, David Böschi, Carlus Padrissa, Christiane Pohle, Immo Karaman ja Aernout Mik. Tema rollide hulka kuuluvad Hermann Offenbachi ooperist Hoffmanni lood, Marullo Verdi ooperist Rigoletto, Lovec Dvoraki ooperist Russalka, Fiorello Rossini ooperist Sevilla habemeajaja, Mittenhofer Henze ooperist Eleegia noorele armastajale, Einäugige Richard Straussi ooperist Varjuta naine, Ping Puccini ooperist Turandot, Harasta Janáčeki ooperist Väike rebane, Silvio Leoncavallo ooperist Pajatsid, krahv Almaviva Mozarti ooperist Figaro pulm, Wolfram Wagneri ooperist Tannhäuser, Isa Humperdincki ooperist Hansuke ja Greteke, Sid Britteni ooperist Albert Herring, Belcore Donizetti ooperist Armujook ja Pantalon Prokofjevi ooperist Armastus kolme apelsini vastu. Lisaks ooperirollidele kuuluvad tema repertuaari Mahleri laulutsüklid Surnud laste laulud, Rändava selli laulud, Rückerti laulud ja Poisi võlusarv, Schuberti Talvine teekond, Martini Kuus Igamehe monoloogi, Schumanni Lauluring ja Kerneri laulud ning Johannes Brahmsi Laulud op. 32. Ta on teinud kaasa ka paljude vokaalsümfooniliste suurvormide, nagu Mendelssohni oratooriumi Elias, Händeli oratooriumi Messias, Brahmsi, Fauré ja Duruflé reekviemide ning Orffi lavalise kantaadi Carmina Burana ettekannetel. Pianist Jaanika Rand-Sirp õppis Heino Elleri nimelises Tartu Muusikakoolis klaveri erialal ja lõpetas Eesti Muusika- ja Teatriakadeemia professor Laine Metsa klaveriklassi solisti ja kammeransamblistina. 2002. aastal omandas ta Vilma Mallene ja Helin Kapteni juhendamisel magistrikraadi Eesti Muusika- ja Teatriakadeemias saateklassi erialal. Ta on ennast täiendanud Arbo Valdma, Klaus Schilde ja Hartmut Hölli meistriklassides. 1994. aastal saavutas ta diplomi rahvusvahelisel pianistide konkursil Kil'is. 2003. aastal omistati talle Rahvusvahelise Richard Wagneri Ühingu stipendium. Alates 1996. aastast töötab ta Heino Elleri nimelise Tartu Muusikakooli õppejõu ja kontsertmeistrina. Aastatel 1996-2014 töötas ta Vanemuise teatris vastutava pianist-repetiitorina ning 2013. aaastast Rahvusooper Estonia vokalistide kontsertmeistrina. Ta tegutseb aktiivselt ka kammermuusikuna, olles ansamblipartner paljudele lauljatele ja instrumentalistidele. Pidev koostöö seob teda Heli Veskuse, Annaliisa Pillaku ja Karmen Puisiga, kellega on sündinud mitmed huvitavad vokaalmuusikakavad. Gustav Mahler (Kaliště 1860 – Wien 1911) was a great admirer of the German poet Friedrich Rückert. In the year 1901 Mahler became sick and nearly passed away due to the incredible stress of his powerful position as chief-conductor of the Vienna State opera. After an absence of several weeks, he started again. It was then that after a show that he met Alma Schindler. Mahler fell in love and wrote her a 20 page long love letter. It was in the same year he married Alma and that he started to write his famous “Kindertotenlieder” and “Rückert Lieder”, both on poems of Rückert: “it’s lyricism from first hand, everything else is from second hand”. His moving year drew him to the themes of peace in death, acceptance, understanding and severe anger. He was so touched by Rückert’s work, he started to identify with him, his phrasing and his topics. It’s because of this that his songs from then on until 1910 were exclusively Rückert’s poems set to music. The Rückert Lieder were initially composed as a collection of 4 songs. In the year after his marriage he wrote “Liebst du um Schönheit” as a declaration of love to his wife. Frank Martin (Genève 1890 - Naarden 1974) is the most well known 20th century Swiss composer. When baritone Max Christmann asked his friend Martin to write him a song cycle, Martin couldn’t find any work suited well enough to put to music. Although he always had the dream to write an opera about von Hofmannsthal Jedermann (the work written for the Salzburger Festspiele and with which it still opens every year), he decided to take 6 monologes from there and set them to music (still playing with the idea to complete it as an opera). The story tells about a man who is confronted with death by his creator. Neither his friends, servants, money nor gold can help him to decide his outcome, heaven or hell. The road he is lead to live from then on makers him realize he is the only one who can decide his outcome and that the deeds, good and bad will be deciding upon his fate. With both pieces I have a very special relationship. Of course, it’s easy to love Mahler’s Kindertotenlieder or Rückert Lieder…what’s not to love! The themes peace and acceptance, love for love’s sake or perhaps the Credo of “Um Mitternacht” are universal themes which speak to everbodies imagination. In March 2014 I was singing in Kärnten, Austria, 2 km from the Wörthersee and it’s there where Mahler composed his 4/8 symphonies as well as his Kindertotenlieder and Rückert Lieder. The little cabin where he composed them is still intact and is place for many a pilgrimage; it’s understandable, the lake and the mountains are very inspiring and make you understand Mahler a bit better. Mahler needed nature around him, mountains, bells, birds and tranquility, The Jedermann Monologue tell the story of the protagonist Jedermann, Everyman (who signifies humanity) who is being judged by a higher power upon the choices he made in life and how nothing but his own understanding and humility will make him change the outcome on the last day of his life. The themes of humility and responsibility are still very large ones which hold a very important place in the world, especially nowadays. Unfortunately it’s more often the frivolity and beauty in art than the message which is being valued. To me these monologes are of great value for art as they made the composer and make the listener think about these themes without any extra beauty or “Schmuck”. The music and the material is very basic (though complex) and always straight to the point. I encountered this music 10 years ago when I got to learn about Martin himself. Though Born in Switzerland, he left to Amsterdam in the Netherlands in 1946 where he completed his orchestration of the Jedermann Monologue. As a Dutchman, of course it makes it even more appealing to perform them. The dutch baritone Tim Kuypers did his Master of Opera at the conservatoire of Amsterdam and was a member of the Studio of the Bayerische Staatsoper in München. As a regular guest, he sang over 130 performances in München such as Hermann in “Les contes d’Hoffmann”, Marullo in “Rigoletto”, Lovec in “Rusalka”, Fiorello in “Il barbiere di Siviglia”, Mittenhofer in “Elegie für junge Liebende”, Einäugige in “Die Frau ohne Schatten, covering Ping in “Turandot”, Harasta in “The cunning little vixen” to name a few. Under chief conductor Kirill Petrenko he sang the One-Eyed in “Die Frau ohne Schatten” and Haudy in “die Soldaten” which was awarded production of the year, conductor, opera house and orchestra of the year. Next to that, Tim was a guest at the Lucerne Festival in Switzerland, the Dartington Summerfestival in England, in the Konzerthaus in Berlin, Théâtre de Champs Elysées in Paris and the Royal Concertgebouw in Amsterdam. On the opera stage he sang with conductors like Marco Armiliato, Fabio Luisi, Zubin Mehta, Kirill Petrenko, Bertrand de Billy, Paolo Carignani, Kent Nagano, Ádám Fischer, Lothar Koenigs, Friedrich Haider, Asher Fisch, Henrik Nánási, Constantinos Carydis, Eivind Gullberg Jensen, Mikhail Tatarnikov, Carlo Montanaro, Daniele Callegari, Dan Ettinger, Oksana Lyniv, Marc Piollet, Emmanuel Villaume, Karl Mark Chichon, Francesco Angelico, Richard Egarr and worked with directors like Richard Jones, Krzysztof Warlikowski, Andreas Kriegenburg, David Bösch, Carlus Padrissa/La Fura dels Baus, Christiane Pohle, Immo Karaman and Aernout Mik. His operatic repertoire also includes roles like Silvio (Pagliacci), il conte d’Almaviva (Le nozze di Figaro), Wolfram (Tannhäuser), Vater (Hänsel und Gretel), Sid (Albert Herring), Belcore (Elisir d’amore) and Pantalon (L’Amour des trois oranges). Next to opera, Tim sings Lied (including “Kindertotenlieder”, “Lieder eines fahrenden Gesellen”, “Rückert Lieder” and “des Knaben Wunderhorn” by Mahler, “Winterreise” by Schubert , “6 Monologe aus Jedermann” by Martin, “Liederkreis op.39”, “Kerner-Lieder” by Schumann, “Lieder und Gesänge op.32” by Brahms) as well as oratorio (including “Elias” by Mendelssohn, the requiem masses by Brahms, Fauré, Duruflé, Händel’s “Messiah” and Orff’s “Carmina Burana”.) Future engagements at the Bayerische Staatsoper include Matthias Wissmann in “the Fiery Angel” and Wisting in the world première of Srnka’s “South Pole” with GMD Kirill Petrenko, Johann in Werther as well as Smirnov in “the Bear” in Estonia.